The "good enough" era of streaming is hitting a wall, and a new rebellious streak in Hollywood is reclaiming the theater as the primal source of the cinematic experience. We are joined by two veterans navigating this shift: Rob Nederhorst, a VFX supervisor who has shaped the visceral worlds of John Wick 3 and The Conjuring, and Ben Hansford, a prolific commercial director now leading the charge in AI filmmaking at USC. They are not just talking about tech for tech's sake. They are discussing how to move past the "lens test" phase of AI, where everyone is just showing off what the tool can do, and getting back to the actual discipline of telling a story that makes an audience physically flinch.

The conversation pivots from the "all-or-nothing" marketing hype of AGI to the practical, gritty reality of modern production budgets. As Netflix-style algorithms push for "dumbed down" content designed for second-screen scrolling, these creators are using tools like VidViz (being championed by Monstrous Moonshine) to fight back. We explore how AI is fundamentally altering the landscape of what is affordable and accessible, allowing independent filmmakers to compete with massive studio footprints. Ultimately, it is a breakdown of why a $35 million set and a toilet paper roll prop are both just tools, and why the only metric that matters at the end of the day is finishing a film that carries a human fingerprint.

Monstrous Moonshine's VidViz for June July >

"Another" by Dave Clark | AI Horror Film - Rob Nederhorst, Producer and VFX Supervisor >

Ben Hansford's website >

Rob Nederhorst's website >

Ben Hansford on IMDB >

Rob Nederhorst on IMDB >

This episode is sponsored by:

Center Grid Virtual Studio

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If the movies you're seeing lately feel like they were assembled by a committee rather than a creator, you're looking at the wrong side of the lens. We are dusting off a classic format today, leaning into the kind of raw film breakdowns we used to live for. The spotlight is on two heavyweights: Josh Safdie's Marty Supreme and Paul Thomas Anderson's One Battle After Another. Both of these pictures have just locked in Best Picture nominations for the 2026 Academy Awards, and it feels like a signal fire. After years of franchise fatigue and focus-tested safety, we are looking at a lineup that suggests great, uncompromising cinema is finally clawing its way back to the center of the frame.

Fair warning: we aren't holding anything back here, so consider this a total spoiler warning. We are going deep into the structure, the endings, and the technical magic tricks that make these films work: from the anxiety-inducing rhythm of Safdie's 1950s ping pong subculture to Anderson's mastery of the long-lens Mojave car chase. This year's nominations feel like a turning point, a collective realization that the audience is hungry for movies that challenge them rather than just pat them on the back. It's a look at why the "cavalry isn't coming" for Hollywood, and why that might be the best news we've heard in decades for anyone who actually cares about the craft of visual storytelling.

//links//

Monstrous Moonshine >

Marty Supreme Trailer >

One Battle After Another Trailer >

Original Ending of Marty Supreme >

This episode is sponsored by:

Center Grid Virtual Studio

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Long before he was codifying the industry in the VES Handbook, Jeff was a kid in Los Angeles pouring ketchup on his friends to stage fake street fights for a hidden camera. His journey into the heart of cinema began under the mentorship of graphic design icon Saul Bass, where he learned that pushing the right buttons could lead to miraculous results. This foundation in precision and storytelling propelled him from a midnight gopher to the primary "fix-it guy" for landmark projects like The Last Starfighter and Stargate, ultimately leading to his pivotal role in founding the Visual Effects Society Awards.

Beyond the technical wizardry and stories of killing Samuel L. Jackson on screen, Jeff offers a raw look at the systemic struggles within the visual effects industry. He explores the "kerfuffle" of 2013, the complexities of global unionization, and the rising tide of AI in the creative process. By advocating for a heist mentality where every shot is planned with surgical precision before a single frame is captured, he provides a roadmap for a more sustainable and respected future for artists in a "fix it in post" world.

Jeff Okun on IMDB >

The Visual Effects Society page >

Press release announcing VFX Handbook >

VFX Handbook order page >

Press release announcing special honorees for upcoming VES Awards >

Press release announcing nominees for upcoming VES Awards >

Press release announcing new VES Board Executive Committee leaders >

This episode is sponsored by:

Center Grid Virtual Studio

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Josh Safdie's Marty Supreme transports audiences to a vibrant 1950s world of professional ping pong, yet many viewers remain unaware that the film contains over 500 visual effects shots. Eran Dinur, the film's VFX Supervisor, reveals how his team meticulously recreated period accurate crowds in Tokyo and Wembley while keeping the digital work entirely "invisible." He views his role as a bridge between the filmmaker's vision and the technical reality on set, ensuring that every digital element supports the story without drawing attention to itself. For Eran, the ultimate compliment is a viewer who walks out of the theater believing every single frame was captured in camera.

The transition into high end visual effects was an unlikely one for Eran, who spent fifteen years as a classical music composer before a random software download steered him toward ILM and eventually the Safdie Brothers. This musical background provides a unique perspective on the rhythm and "choreography" of effects, whether he is timing CG ping pong balls to Timothée Chalamet's performance or animating the surreal openings of Uncut Gems. Beyond the technical craft, he addresses the current industry backlash against CGI and the marketing trends that prioritize "practical only" narratives. He also offers a practical look at the future of AI in cinema, arguing that tools are only as good as the control an artist has over them.

Eran Dinur on IMDB >

Eran Dinur's website >

Marty Supreme Trailer >

Marty Supreme Wikipedia >

The Filmmaker's Guide to Visual Effects: The Art and Technique of VFX for Directors, Producers, Editors and Cinematographers by Eran Dinur >

The Complete Guide to Photorealism for Visual Effects, Visualization and Games: For Visual Effects, Visualization and Games by Eran Dinur >

This episode is sponsored by:

Center Grid Virtual Studio

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What happens when a filmmaker abandons a studio career on Saving Private Ryan and a PhD in history to create a film so challenging it is rejected by both Israeli and Arab film festivals? Michael Moshe Dahan joins the podcast to discuss Yes, Repeat, No, a meta-fictional deep dive into the life of actor-activist Juliano Mer-Khamis. By casting Palestinian, Israeli, and Lebanese actors to play different facets of the same man within a "rehearsal as performance" framework, Dahan explores the fluidity of identity and the tragedy of hardened political stances. This episode navigates the delicate "middle ground" of the Middle East conflict, focusing on the human friction that exists before ideologies take hold.

Technically, Dahan breaks down the "weird and technical" mechanics of the shoot, including a four-camera multi-cam setup on a rotating stage where the cameras never stopped rolling. The discussion covers the sonic syncopation of sharp heels and metronomes, the influence of Freud's screen memories, and the philosophy of teaching the "history of the future" rather than the past. We also explore the future of independent cinema in an algorithm-driven world and Dahan's "AI curiosity," as he looks toward new tools to recapture the audience's imagination and bypass traditional studio gatekeepers.

Yes Repeat No official website >

Where to watch Yes Repeat No >

Michael Dahan on IMDB >

Synecdoche, New York (2008) Trailer >

The Little Drummer Girl (1984) Trailer >

This episode is sponsored by:

Center Grid Virtual Studio

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Will 2026 be the year of the ultimate industry reckoning or a digital renaissance? Hosts Chris and Daniel are joined by guests James Blevins and Erick Geisler for a deep dive into the "mild, medium, and spicy" predictions that will define the next year. As the dust settles on early AI experiments, the group moves past the "Will Smith eating spaghetti" era of novelty to discuss the professionalization of tools, the massive consolidation of legacy studios, and the survival of the traditional theatrical experience.

The conversation pushes boundaries, exploring everything from the rise of personal AI creative agents to the outlandish possibility of data centers orbiting in space. By examining the potential collapse of current tech giants alongside the emergence of AGI, the panel maps out a world where the lines between science, religion, and storytelling are permanently blurred. This episode isn't just a look at what's coming, it's a high-stakes debate on who will lead the charge in the collision of Hollywood and high-tech.

Netflix's Acquisition of Warner Bros. Discovery >

Flawless AI: DeepEditor & Ethical Reshoots >

Starcloud: The First NVIDIA-Powered Space Data Center >

NantWorks: Converging Biotech and AI >

This episode is sponsored by:

Center Grid Virtual Studio

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From disrupting the print industry with the original Macintosh to building bespoke tech for Premier League teams, Ivan Reel has always lived at the bleeding edge of media. Now the Head of Studio Technology at StradaXR, Reel traces his evolution from graphic designer to virtual production leader, sharing insights from his time managing Sony's pivot to digital workflows and his inspiring choice to return to film school later in life to master modern VFX. This convergence of deep technical experience and fresh artistic training has placed him at the forefront of optimizing LED stages for the next generation of filmmaking.

The discussion digs into the technical and economic forces reshaping the industry, drawing parallels between the current AI explosion and the democratization of digital video. Ivan details how StradaXR utilizes Chaos Vantage to introduce real-time ray tracing to the volume , offering a superior alternative to standard game engine pipelines. The episode wraps with a compelling argument for the future of indie film, suggesting that the true power of virtual production lies not in big budgets, but in its ability to empower efficient, high-quality genre storytelling.

Ivan Reel on LinkedIn >

StradaXR >

Ivan Reel's website >

Chaos Arena >

Hammer Film Productions >

This episode is sponsored by:

Center Grid Virtual Studio

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Why does the superhero spinoff Gen V often look more visceral and grounded than its blockbuster feature film counterparts? The answer lies in the unique philosophy of Visual Effects Supervisor Karen Heston, who joins Chris and Daniel to reveal the analog soul beating beneath the show's digital surface. Heston traces her journey from the chemical smells of a black-and-white darkroom to the high-pressure world of "Flame" compositing in New York, where she learned to be a "finisher" capable of managing clients and pixels simultaneously, a skill set that eventually propelled her to lead major projects like Arthur Christmas and Beasts of No Nation.

The conversation pulls back the curtain on the gory, creative success of Gen V. Heston explains that the show's secret isn't an over-reliance on CGI, but a fierce commitment to practical filmmaking, using giant props for shrinking characters and silicone "blood darts" to anchor the digital effects in reality. She discusses the intense collaboration required between stunts, prosthetics, and VFX to pull off "blood powers" that feel weighty rather than cartoony, and concludes with a forward-looking discussion on how AI might reshape the industry by bringing back the era of the "generalist" artist.

Karen Heston on IMDB >

Karen Heston on LinkedIn >

Gen V on Prime >

This episode is sponsored by:

Center Grid Virtual Studio

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Ben Mauro is one of the industry's most respected concept artists, known for defining the look of blockbusters like Halo Infinite, but his latest venture is a masterclass in how artists can successfully build and own their own intellectual property. Ben returns to the podcast to break down the journey of expanding his independent sci-fi universe, Huxley, from a passion project into a high-end graphic novel series published by Thames & Hudson. He shares the creative and business roadmap for launching his new prequel, The Oracle, and explains why maintaining full creative control is essential for building a lasting legacy in a committee-driven industry.

Beyond the logistics of publishing, the discussion dives deep into the philosophical necessity of physical media in an age of fleeting digital licenses. Ben, Chris, and Daniel explore the "pride of ownership" that comes with tangible art, whether it's a collector's edition Blu-ray or a deluxe graphic novel, and how this tactile connection anchors the audience to the story. They also touch on the "Roman Empire" of machines within Huxley's lore and the vital lesson of creating art for oneself, proving that the most personal work is often what resonates most with the world.

Ben Mauro's "HUXLEY: The Oracle" >

Ben Mauro's "HUXLEY: The Oracle" deluxe edition >

Ben Mauro's "HUXLEY: The Oracle" - on Amazon >

Ben Mauro Design >

Ben Mauro on Instagram >

Ben Mauro on IMDB >

This episode is sponsored by:

Center Grid Virtual Studio

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AI is revolutionizing cinematic lighting control with Beeble AI's Switchlight. Founder Hoon Kim explains how his tool, originally a general AI concept, became a powerful VFX asset by tackling the difficult process of relighting. Switchlight "unlights" any video footage to figure out the fundamental physical properties, like the shape (normals) and texture (metalness/roughness) of objects, and then uses this data to apply new, photo-realistic lighting instantly and securely. The desktop application is quickly becoming indispensable for both small production teams and major studios who need precise creative control over their shots.

The conversation reaches a pivotal point when host Chris, an expert in real-time rendering, mentions his work with the real-time ray tracer Vantage, leading to mutual excitement about integrating their technologies. Switchlight provides the control that other generative AI tools lack, and Hoon sees its PBR data as a perfect control signal for future generative video models. They agree the tool's true value is creating "relightable footage" that can be manipulated layer by layer, just like in professional compositing software. This technical precision promises to blend the creative freedom of AI with the consistency and detail demanded by professional filmmaking.

Beeble AI Official Website >

Hoon Kim's LinkedIn Profile >

Google Research Total Relighting paper >

Paul Debevec's Parthenon project (2004) >

Chaos Vantage (real-time ray tracing) >

This episode is sponsored by:

Center Grid Virtual Studio

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